Andrés Torres Segovia, 1st Marquis of Salobreña (February 21, 1893 – June 2, 1987), known as Andrés Segovia, was a Spanish classical guitarist from Linares, Jaén, Andalucia, Spain. He is widely considered to be one of the finest classical guitarists of the 20th century - and one of the founders of what we now consider "Classical Guitar"

2009 soundtrack to Wes Anderson's first animated feature, based on the beloved Roald Dahl book. Academy Award nominee Anderson is best known for his film's Rushmore, The Royal Tenebaums and The Darjeeling Limited. Fantastic Mr. Fox. makes its Atlantic-crossing aboard a magical soundtrack featuring an unforgettable score by award-winning composer Alexandre Desplat, as well as vintage Folk, Jazz, Pop and Rock tracks hand-picked by Wes Anderson and music supervisor Randall Poster. Standouts include an unreleased track by former Pulp founder and frontman, Jarvis Cocker and a classic Rolling Stones track. Also features music from The Beach Boys, Burl Ives, The Bobby Fuller Four and The Wellingtons.

Get on your dancing shoes and make ready to enter new dimensions, where no one has been before. New Andrés Digital 12 Track Album “Tropical Rave” is on its way with Guests like Paco Mendoza, Don Caramelo, ELMALO, Tiger Blood, Don Camilo + an free 4 Track Mashup EP. Releasetime comes soon.

A midprice reissue collecting this young French pianist s three baroque recordings. I fell in love with Tharaud s Rameau disc several years ago and never once missed the rattling sound of the harpsichord. Tharaud points out that Rameau s frequent ornamentation would have served to prolong notes on a harpsichord. This isn t necessary on a modern piano, and there s an incredible delicacy to the pianism here, with the trills and turns played with a barely credible lightness of touch. It s infectious stuff, with the witty character pieces from the Suite in G vivid and alive.

Alexandre Moutouzkine debuts on the Steinway label with a collection of rarely heard works of Cuba, most of which have never been recorded. The artistry and sensitivity of Alexandre Moutouzkine interpreting Cuban music truly made magic. Everything was perfection. Radio Musical Nacional (Havana)

The biggest surprise on this wonderfully exuberant and exhilarating disc comes with the very first notes: the piano tone is rich and full, worlds away from the slightly distant, musical-box tone that is often thought appropriate for recordings of Domenico Scarlatti's sonatas on a modern concert grand. But as the soundworld suggests, Tharaud is totally unapologetic about playing these pieces – all originally composed for harpsichord even though the earliest fortepianos were in circulation in Scarlatti's time – on a piano. In the sleevenotes, Tharaud says that of the four baroque keyboard composers that he has recorded so far – Bach, Couperin, Rameau and now Scarlatti – it's the last whose music is most suited to this treatment. His selection of sonatas is chosen for maximum variety, with a group in which the Spanish inflections of flamenco and folk music can be heard, others in which he gets a chance to show some dazzling technique, alongside those in which the playfulness is replaced by profound introspection.